We love this video of a pet squirrel trying to hid a nut in a patient, yet confused, Bernese Mountain dog. The squirrel is cute and the dogs expression is priceless. Prepare for cute video joy.
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5 Minutes With Makeup Artist Mary Greenwell: On The Silhouette Icon Campaign & Cate Blanchett
Interview with makeup artist Mary Greenwell as she works on the
Silhouette Icon for an Icon campaign with Cate Blanchett
Q. Is there a difference between working with people who are wearing glasses, and those that aren’t? Are there any techniques you use to enhance the eyes behind glasses?
A. No. There aren’t at all! I always say that the glasses come after the makeup. The glasses, if chosen properly, are the perfect addition to your makeup look. So I don’t manipulate the makeup for glasses at all:
do your makeup up how you want it to look and then put your glasses on. They should just be an extension of your personality! That’s the benefit of the Silhouette Icon specs; they’re frameless so people can look into you, and see your face, so you should wear whatever makeup and clothing you want to wear.
Q. Do you think this is different from people who wear heavy frames?
No not at all, it’s exactly the same.
Q. And from a makeup artist’s perspective, do you manipulate makeup application to accommodate glasses?
A. Well, the model tends to be chosen as they represent the look or theme the styling team want to achieve, so you work to enhance the face, with either a smokey eye, or a bold lip, or a natural finish, whatever is required and then just add glasses.
Q. Do you prefer any of the different makeup looks paired with glasses.
A. Not really, it’s whatever you want to wear! If you want a flicky eye: great. Smokey eye: go for it! The question is ‘does your makeup look good without glasses’?
Q. So then your general stance is that the glasses don’t affect your makeup application or use at all?
A. Absolutely! Just don’t worry about it. Focus on finding a pair of frames that suit your face. It’s quite a thing to go out and suddenly start wearing glasses, so the frameless Silhouette glasses are ideal to still show off your face and allow the light to access it, so stick to the makeup that you know.
Q. Do you think that glasses draw attention to the eyes, as an ‘accessory’?
A. I guess they can portray your personality if you go for a Barbara Cartland sort of look, but ideally, they just showcase your face and work to enhance your natural personality, especially if you go for a Silhouette frameless pair which allows the light to get to your face.
Q. What do you think glasses say about a person?
A. I don’t think they represent a personality trait at all. I wouldn’t like to think that way either. It seems a rather stereotyped process to assume someone is more intelligent because they wear glasses. That’s ridiculous!
Q. So do you think there is a general idea that people appear more intelligent wearing glasses?
A. No. Personally, I don’t think so. People wear them that way in down-time i’m sure. I’m sure there are people out there, who put on spectacles and head out to dinner in an attempt to appear more intelligent, but that isn’t the way that I see glasses at all. What shows intelligence is the look in someone’s eyes and mirroring what they’re saying, which is why I love the Silhouette Icon glasses, they allow you to see more of the face and the eyes. I mean, I would love for my glasses to make me look more intelligent, but that just isn’t the case!
Q. Working with Cate, are there any makeup styles that she likes/prefers, or you think suit her best?
A. I work with Cate all the time, and she’s a very beautiful person. She doesn’t need any makeup at all really. But obviously, with photography, you apply makeup to even out the skintone, and make the eyes pop a bit more, and that’s all we did really with this Silhouette Icon campaign. There’s not very much makeup used at all.
Q. So were you briefed to use minimal/barely there makeup?
A. Well, Cate just looks great in natural makeup, and this wasn’t about a smokey eye or fuller coverage. That wouldn’t work. It’s not how we work, and it’s not how Peter Lindbergh works. He works in a minimalist fashion, and although this wasn’t minimalist makeup, it was natural makeup. That’s what works in the bright sunshine of LA with the light shining through, and you wouldn’t dream of doing anything else. It’s just about making someone look really good. A small amount of makeup will always enhance the face, and too much just doesn’t work.
Q. Are there any key products that you can’t do without?
A. Oh definitely. I can achieve any makeup look using these products:
YSL BB Cream
Chanel No. 5 beige bronzer for bronzing and contouring
Chanel cream eyeshadow in Eblouis
Illusion D’ombre eyeshadow
Sensai volumising mascara
Suku eyebrow pencil
MAC lipstick in ‘cream in your coffee’
With those 6 products, you can make your look either really heavy or really light. You can change the look by applying shadow up to the brow bone, or applying just up to the socket for example. Whether you apply less product for a more natural look, or build it up for more emphasis, these products are definitely my go-to!
Q. And is there one key product in your professional kit that you would choose?
A. I couldn’t! Everybody is different, and they need different products because of that.
Q. When your clients are wearing glasses is there a particular method used to give the eyes stand-out?
A. Wearing glasses actually focuses attention on the eyes, so you can use this to your advantage and wear a bold lipstick to balance out the features. If you are keen to frame the eyes under thicker lenses, then use a liquid eyeliner along the upper lash line, and create a feline flick at the outer corner for added definition. Finishing the look with volumising mascaras will enhance the eye further.
Q. Would you use different focuses or emphasis on makeup with different types of glasses?
To complement a thick-rimmed pair of glasses, I would use minimalistic makeup on the eyes and cheeks, but focus on the lips. The classic pillar box red lends to the seductive secretary look, and immediately frames the face. If you have a full lip, wear a darker shade of red to avoid a clustered feel. Those with thinner lips can wear a bright shade. Line the lips first to give extra shape to the mouth.
Rimless glasses allow for more versatile makeup looks. Whether you want to enhance the eyes with a smokey eye, focus on the lips, or colour block the cheeks, the more subtle-glasses wear means that any of this is possible.
Q. Do you have any top tips on applying liquid liner and creating the different types of flicks?
A. If you aren’t blessed with a steady hand, then there are definitely tricks to help you on your way. Resting your elbow on a firm surface will support the hand and allow you to trace the lash line smoothly and close to the edge. When creating your preferred flick, place a dot where you want the flick to end, and then join the dot to the liner at the corner of the eye.
Q. How would you conceal tired and dark circles under the eyes?
A. An illuminator is the perfect tool! Choose a shade that is slightly lighter than your natural skin tone and apply under the eyes. When blending, smooth the illuminator in clear strokes to ensure an even finish. The illuminator will then reflect light particles off the skin and limit the appearance of bags/dark circles.
Thank you Mary.
Star Trek – Live In Concert
21ST CENTURY SYMPHONY ORCHESTRA AND CHORUS, conducted by LUDWIG WICKI
Following the recent debut of Star Trek into Darkness at No.1 in both the American and UK box office, where it has already made $260 million worldwide within 2 weeks of release, buzz for the franchise is at fever pitch. Now London’s Royal Albert Hall will be hosting the UK premiere of director J.J Abrams predecessor, 2009’s $385million blockbuster smash Star Trek, live in concert on May 29 2014, celebrating the extraordinary collaboration between Michael Giacchino’s score and J.J Abrams’ visionary original motion picture.
With Star Trek fever at an all-time high with Abrams’ rebooted film franchise, this live concert will feature Michael Giacchino’s score brought to life on stage by the 21st Century Symphony Orchestra and Chorus, while the Academy Award winning film is shown simultaneously in high definition on the big screen, in the majestic surroundings of the Royal Albert Hall. This concert explores the collaborative relationship between music and storytelling and is a must for lovers of film and Trekkies alike.
Loved by audiences, the impact of Star Trek has been huge. The original series, which first aired in 1967, and is considered the most influential sci-fi series in TV history, has since spawned five successor series, twelve movies (this film being the 11th in the series), novels, comics, games, a plethora of merchandise, and a multi-billion dollar industry collectively known as the Star Trek franchise. This concert is further proof of the popularity and legacy of this cultural phenomenon, not just through the films and TV shows but also the music and score that have played a huge part in its success.
“To hear Michael Giacchino’s music, the secret weapon of the Star Trek series, performed live in Royal Albert Hall, will be, I promise, a thrill” says J.J Abrams “The full orchestra scoring sessions for the films have been among my favourite life experiences. To give the public a chance to hear this incredible music performed live is a wonderful thing. I cannot wait to go and celebrate Michael’s truly remarkable achievements!”
Michael Giacchino adds, “In 2003, before I wrote my first film score, I saw John Williams conduct ET live to picture at the Shrine Auditorium in Los Angeles. I will never forget that event. A little over ten years later, I will have the honour of experiencing my music for Star Trek performed by the incredible 21st Century Symphony Orchestra and Chorus under the baton of the talented conductor, Ludwig Wicki. That in itself is exciting, but the fact that we will be in the Royal Albert Hall in London, is truly amazing. After working with J.J. for 13 years, it will be so rewarding to have his wonderful film brought to life in a whole new way. I look forward to sharing this event with J.J. and the Star Trek fans, new and old”
This event is part of the Royal Albert Hall’s series in celebrating classic films with live orchestra. 100,000 people have now enjoyed sold out performances at the Hall of The Lord of the Rings Trilogy, The Matrix, the 50th Anniversary of West Side Story, Disney’s Fantasia, Singin’ in the Rain and the upcoming world premiere of Danny Elfman’s Music from the Films of Tim Burton on October 7th and UK premiere of Pixar in Concert on February 22nd 2014. The Hall looks to provide memorable visitor experiences for all and, as a charity, these own-promoted events form a part of its extensive public benefit remit.
Star Trek- Live in Concert
Thursday 29 May 2014 at 7.30pm– Star Trek (2009)
Kensington Gore, London SW7 2AP
Tickets £15 – £55 (booking fees apply)
Box Office 020 7589 8212
www.royalalberthall.com
Tickets on sale Friday May 31st at 9am from the Royal Albert Hall Box Office
A Magical Production
Lost in the Dark presents Ondine by Jean Giraudoux
When I was a child, I used to make up plays. They would often involve princesses, love stories and magical powers. Ondine is exactly the type of play that child would have loved: the embodiment of the sense of wonder that draws us to drama in the first place. To bring this off in a small fringe venue like the White Bear is no small achievement. But bring it off to a very high standard is precisely what Lost in the Dark have done.
Ondine is the story of a supernatural creature who falls in love with a mortal man..When Hans and Ondine meet, the worlds of a mortal man and a magical creature of the water dangerously collide and she is forced to make an inexorable pact, which will change both their lives forever. Should he betray her, he must die and, along with her time on earth, be erased completely from her memory for her to return to the world of the lake forever.
The first thing to strike me when I entered was the set. Auguste (Michael Eden) and Eugenie (Terry Diab) were already seated, she knitting, he reading, in a fisherman’s cottage, complete with daub walls and a working window. The small oil lamps were a particularly nice touch. Haunting music played from offstage. The first act takes place in this kitchen, with Hans (Andrew Venning) and Ondine (Elizabeth Merrick) completing the cast for this part of the story. The second set takes place in the Royal Palace, where Richard Hurst, Brice Stratford, Rob Leonard, Phoebe Batteson Brown, David Frias Robles, Marian Elizabeth and Hilary Hodsman make their debuts. The final act takes place on a rock by the sea, where the story comes to its tragic, but inevitable end.
There were no bum notes in this production, although a personal preference would be for the actors not to turn their back on the audience quite so much, but apart from that they dealt with the small space admirably. Everyone involved did a fantastic job: however, there are some who deserve a special mention. Firstly, set designer Zanna Mercer has created three excellent environments for the play, which are spectacular by the standards of black-box theatre. Andrew Venning grabbed my attention from the moment he came on stage, and continued to captivate the audience throughout, with his expressive, heartfelt delivery and physical presence. Elizabeth Merrick was superb as Ondine, her opera training showing to advantage in her movement, her vocal range, and her portrayal of wide-eyed wonder, tragedy and love. The final scene between Ondine and Hans was particularly poignant, with both actors showing marvellous emotional depth. Marian Elizabeth gave a lovely, credible performance as Bertha, particulary in one scene, where I almost believed she had a live bird in her hand. She played the part with charm and grace. I would have liked to see more of Phoebe Batteson Brown (Voilante/Kitchen Maid). She drew my eyes whenever she was on stage and although her parts were small, they gave indications of a much larger potential. Finally, a play is only as good as its director, and Cat Robey must take a large amount of credit for this magical piece of theatre.
Ondine is running at the White Bear Theatre, London, SE11 4DJ, 28th February – 18th March 2012, Tues-Sat 7:30pm, Sun 6pm. For more information, visit www.ondine-lost-in-the-dark.com.